Front Window Gallery is thrilled to present two photographs by Lexi Rueff, each titled Nonsense. Taken at night, Rueff uses long exposure and jittery, haphazard movements to create sputtering images of colored light streams. The result is an energetic mash-up of neo-Abstract Expressionist gestures with a Coney Island carnivalesque whimsy.

Front Window Gallery is pleased to present a selection of black and white photographs by poet Erik La Prade. These include candid portraits of art-world figures (here Christo, Chuck Close, John Baldessari, Gerard Malanga) that La Prade has continually taken throughout his career, as well as other interesting people and moments encountered on his meandering walks through New York City.

Front Window Gallery is thrilled to present a sculpture by Canadian ceramic artist Laurent Craste. Part of Craste’s “Abuse” series, this vase references a classic 19th century European form that has been severely compromised by the violent act of having an ax thrust into it. Craste’s darkly humorous work uses of the history and visual language of the decorative arts as a way to critique the hierarchical power structures inherent in the luxury goods market.

Front Window Gallery is pleased to present Fate, avisually rich painting by Karin Waskiewicz. Combining a building up and breaking down of materials, Waskiewicz cuts, gouges, and drills into multiple layers of acrylic to reveal surprising combinations of colors and forms. Equal parts sculpture and painting, Fate exudes a tactile energy reaching far beyond the boundaries of the rectangle support on which it sits. Waskiewicz wrings forth from her labor-intensive process highly suggestive and metaphorically charged imagery resembling swarms of things (birds, gnats, clouds, etc.), undulating liquid, or even a schematic of a synaptic network.

Front Window Gallery presents “Uncertainty,” an exhibition of two works by Reba Rohrer. In these drawings, Rohrer engages whimsy, riotous color, and a horror vacui jumbling of forms and figures to explore complicated themes such as femininity, aging, longing, love, and loss. The works are stylistically direct – taking influence from the worlds of illustration and animation – and injected with a good dose of humor and narrative wit. The viewer is rewarded with an art experience that is emotionally rich and visually stimulating.

Front Window Gallery is happy to present two early works by Eric Aho. Combining painterly abstraction with plein air realism, Aho transmutes the world as seen before him into color, shape, form, and movement. The result are works that feel less like locations and more like memories, elusive yet concrete moments that simultaneously ground and transport the viewer.

Front Window Gallery is pleased to present three paintings from Lordan Bunch’sLast Picture series. For this body of work, Bunch repeatedly painted a portrait of the incorruptible Saint Bernadette in repose, trying to perfect the image with each subsequent attempt. Close inspection reveals subtle differences between each painting – a slightly narrower curve or barely perceptible deepening of color – showing Bunch making minor adjustments in pursuit of “the perfect painting.” The result is a beautiful and melancholic meditation on the seductive, but unattainable, notion of The Ideal.

Front Window Gallery is excited to present Trevor Winkfield’sTomb, a tightly packed canvas depicting a raucous, modernist and pop-inflected glimpse of some delirious fever dream. Like fine-tuned marionettes, Winkfield’s shapes, colors, forms, and characters are perpetually acting out an enticing yet elusive narrative. Of Winkfield’s paintings poet John Ashbery wrote, “If all art aspires toward the condition of music as Pater writes, Trevor Winkfield must be counted among the most successful artists of all time.”

Front Window Gallery is thrilled to present Burton C. Bell’sDescanso. In this haunting photo, Bell captures the palpable, real-time grit of train tracks set against the infinite possibilities of an unfathomable, endless horizon. Here, time and place are at once concrete and ethereal, constantly shifting underfoot. According to Bell, “In the Southwest and West you will see many roadside crosses marking the place where a person died in an auto crash. There are thousands. These markers are called descansos, the Spanish word for rest area. In the year 2001, I made a trip from Los Angeles to Santa in my ’69 Ford F250. My goal was to capture and document as many descansos as possible along Route 66. Many times I ventured off the path to explore. Resonating my journey back to LA, heading west, my future at that moment was infinitely unclear. This is my own personal descanso.”